Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Playing as a lark enthuses audience
[Tristram Kenton]
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
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FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
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Midsummer Nights Dream
The Globe, London
★★★★
IF there is any doubt that A Midsummer Night’s Dream can be played as a lark from start to finish, then this hyperactive Sean Holmes production will put such thoughts to bed.
Delivered with music hall panache throughout, every moment is milked for maximum silliness, while up in the gallery an off-the-wall, Bonzo Dog Doo-Dah style band accentuates the absurdities with rude blasts of the tuba, trombone and trumpet.
Jocelyn Jee Esien as Bottom is a Max Milleresque bundle of double (and single) entendre, making an agreeable ass of herself in more ways than one, while Faith Omole as a fiery, sexually charged Hermia provides some of the best moments of outraged, boisterous confusion.
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